‘The Death of Robin Hood’: A Hauntingly Tortured Hugh Jackman Dispels the Robin Hood Myth With Blood-Soaked Grit

Alci Rengifo

The idea of romantic outlaws has such an irresistible allure. It is the heroes who defy the system that tend to be the most seductive. Beneath the surface, however, there is always much more that is cruelly human. Michael Sarnoski’s “The Death of Robin Hood” has little interest in any of the other Robin Hoods we’ve seen before. Cheerfulness is replaced by a visceral, blood-soaked experience that becomes an intimate tragedy. Sarnoski uses as his source material the fragmented English ballad “Robin Hood’s Death,” which dates to about the seventeenth century. The film feels more personal than a mere adaptation, becoming an engrossing reflection on myth, plagued consciences and how no adventurer can escape the claws of time.

Robin Hood (Hugh Jackman) is now an aged man with flowing grey hair, living in the cold woods of 12th century England. Quite a body count has been left in the wake of his famous adventures when he did indeed take from the rich and shared some of it with the poor. All around, the relatives of those he slew with his bow and arrows want revenge. Robin would no doubt like some peace, but that is fleeting for a man of his infamy. His old partner in crime, Little John (Bill Skarsgård), finds the aged outlaw to aid in protecting his own family from precisely those seeking vengeance. Since Little John was Robin’s accomplice, he is as much a target. An attack does come that leaves Robin with serious wounds after a brutal fight. Little John manages to get his friend to a remote priory surrounded by rocks and crashing waves. A prioress named Sister Brigid (Jodie Comer) tends to Robin’s wounds and slowly he regains his strength, while adapting to his new surroundings while keeping his true identity secret. For how long can he stay a mystery?

This is most definitely not the Robin Hood most moviegoers are accustomed to. Kevin Costner is no model for Jackman’s quietly tortured performance. Even when other filmmakers have attempted a “realistic” or grittier take on the fable, like Ridley Scott’s “Robin Hood,” they never let go of the idea of the character being an admirable force for good. Richard Lester’s 1976 film “Robin and Marian” attempted to imagine the outlaw’s older years, with strong performances by Sean Connery and Audrey Hepburn, but as a cheerful fantasy about legends in twilight. Ironically, the original title of that production was supposed to be “The Death of Robin Hood.” In Sarnoski’s literate script, Robin flinches when those he meets down the road bring up the old stories of his exploits. He plainly tells a drifter early on that there never was a Maid Marian because no woman could ever love him. Like Clint Eastwood in “Unforgiven,” this is the deconstruction of an archetype. In the same way Eastwood’s work ponders the true implications of the gunslinger life, Sarnoski’s Robin Hood is updated for an era that feels devoid of heroes. He may have robbed many and given silver to the plebs, but at a violent cost. We have become accustomed to doubting myths when so many popular figures have been exposed as unsavory or all too human like the rest of us.

Violence in the world of this film is quick and merciless. When Robin fights the member of a raiding party attacking Little John’s home, there is nothing stirring about it, just savage knife blows and broken bones. Pat Scola’s cinematography sets the mood with frames that can evoke medieval art while establishing the priory as a cold, stone place for Robin’s soul to reflect. More than suspense, what is generated is the loneliness of a heavy conscience. Robin grows close to Brigid, with trust growing through her constant bleedings of his arm (a typical procedure of the time). A leper (Murray Bartlett) hovers around as a potential friend and also the equivalent of a confessor who knows his own time is almost up. Two children also enter Robin’s life, Little Margaret (Faith Delaney), daughter of Little John and Arthur (Noah Jupe), who will have a more heartbreaking purpose for being here. Their presence won’t “save” the aged bandit, but in a sense remind him of the loss of youth and so much that was obliterated by his violence.

For Sarnoski, “The Death of Robin Hood” is a return to establishing him as a unique director in the crop of talents that have emerged over the last few years. His debut, 2021’s “Pig,” was a genre-defying film starring Nicolas Cage as a former chef who goes on a quest to rescue his beloved truffle pig. Sarnoski then went for bigger Hollywood reach with “A Quiet Place: Day One,” a skillful prequel in the sci-fi horror franchise where he injected human elements into the more typical screeching action. What is evident is that he has a voice. A24 is behind this new film and Sarnoski works freely without the need to include action and thrills. When someone is killed in this world there is nothing but sadness. Jackman’s brilliant performance evokes the same kind of hardened soul from his Wolverine in “Logan.” Robin’s version of starting to change is warning a potential threat to leave and live a real life, or else he will kill him and think nothing of it. The final scenes are truly moving. Jackman wells up such emotion that he makes a mythical character truly feel real and aching.

It is fair to say general audiences will probably have a hard time immediately accepting “The Death of Robin Hood.” A character typically reduced to breezy adventure and a few gags becomes a portrait of wrenching inner struggles. Wherever Robin turns, there is a reminder of his crimes. Brigid will reveal later her own surprising brush with his exploits. Matt Reeves’ “The Batman,” in a sense attempted a bit of the same by presenting a psychologically unstable Bruce Wayne who pummels criminals to exorcise his inner demons. “The Death of Robin Hood” is bleaker and we walk away convinced this would have been the real version of such a personality. Yet, a film like this shouldn’t exist solely for box office. Maybe it will not rake in the same numbers as “Obsession” or “Super Mario Bros.,” but we still need films like this to be made. Not all art is meant to be shallow escapism. How easy to forget that it can be about questions of life and death, meaning the grander questions that inspired the original myths to begin with.

“The Death of Robin Hood” releases June 19 in theaters nationwide.